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ApriL 2008

Flamenco Compas for Alegrias

Analysis of the 12-pulse palmas (clapping)
rhythm and its relationship to the standard
African bell pattern

By Jerry Leake

lamenco embodies a complex musical and cultural tradition that

can be traced back to the 1400s. Although considered part of the

culture of Spain, flamenco is actually the music of Andalucian

gypsies.

Flamenco is a multifaceted art involving singing (cante),

dancing (baile), and acoustic guitar (guitarra), along with rhythmic

punctuations played by hand claps (palmas) and a box drum called cajon.

The limited scope of this article cannot begin to explore the rich history

and evolution of flamenco music; the focus here is on one specific form

called Alegrias. First, some background information.

COMPAS/PALMAS/FORM

The term compas represents the unique meter, measure, or bar within

which flamenco music is played and danced. One could also use the term

“cycles” to describe the compas structure.

Palmas refers to the specific accompanying clapping pattern that

is built within the compas structure. There are two types of palmas

techniques: sordas and claras. Soft claps (sordas) are produced when the

open palms strike together in a low, muted tone. Louder, higher-pitched

claps (claras) are produced when the fingers of the strong hand land into

the open palm of the weak hand.

The numerous flamenco forms can be characterized by their compas

structures, their letras (song verses), by the key signature, and even chord

progression in which the music is performed. Popular forms in 4/4

include Tangos and Rumba; forms in 6/8 and 12/8 include Fandangos,

Bulerias and Alegrias. Each form is played with different palmas patterns.

ALegriAS PALMAS

An important aspect to understanding the language of Alegrias

(“happiness”) is the relationship between beat 12 and beat 1. The Alegrias

palmas pattern actually begins on beat 12. This is not to say that beat 1

is unstressed; many guitar and vocal phrases begin on beat 1. It is the

specific treatment of the palmas pattern within Alegrias that is examined

herein. In the most basic compas structure there are five accented claps

sounded within the 12-beat phrase. Shown below, the five underlined

numbers (12, 3, 7, 8, 10) represent accented claps with the remaining

seven beats clapped softly.

To practice, count the numbers (beginning from beat 12) while

clapping accented and non-accented strokes. Use both sordas and claras

clapping techniques. With practice over time, this unusual “12 equals

1” phraseology—where 12 is the first beat of the cycle—will become

comfortable—and even quite natural.

12 1

10 11

Once proficient with the voice and clap, one can try stepping to the

phrase in a six-beat fashion whereby each step contains two numbers.

Begin with the two feet together and follow the specific parenthetical

stepping sequence. When repeating the phrase, the feet switch positions,

as shown below.

R = 12, 1 (right foot steps out, weight is placed to this foot)

L = 2, 3 (left foot steps in lightly, no weight to this foot)

L = 4, 5 (left foot step out, weight is placed to this foot)

R = 6, 7 (right foot steps in lightly, no weight to this foot)

R = 8, 9 (right foot steps out, weight is placed to that foot)

L = 10, 11 (left foot steps in lightly, no weight to this foot)

L = 12, 1 (repeat: feet switch positions, left foot steps out)

12 1

10 11

R (repeat)

FLAMENCO FOCAL POINTS

Next, important focal points of the music can be noted. Beat 10 is

a critical cadence point where the dance and music end their phrases

together in a dynamic fashion. Beat 11 is dramatic in its musical

silence and statuesque pose of the dance. The music and dance resume

at beat 12 and continue the cycle of intricate development and potent

cadence to beat 10. In my experience, when the guitar initially begins

an “instrumental” composition in Alegrias, the palmas pattern often first

enters on beat 7.

Summary of Events:

• Accented claps are 12, 3, 7, 8, 10

• Palmas enter on beat 7 (instrumental scenario)

• Music and dance phrases cadence to beat 10

BEAT/“CELL” ANALYSIS

The unique structure of Alegrias contains challenging syncopation that

supports the music’s growth within the inherent tension and resolution

points of the phrase. In this article, each rhythm “cell”—12, 3, 7, 8, 10—

begins on the pulse with the accented clap and lasts until the next cell.

The duration of the five “cells” contained within the pattern is uneven,

and yet, at the same time, is elegant and logical.

The duration of the first cell from beat 7–8 is “one” stroke, the

duration of the second cell from beats 8–10 is “two” strokes, from beats

10–12 is “two” strokes, from beats 12–3 is “three” strokes, and from beat

3–7 is “four” strokes. What results is a unique expansion of accented

claps within the phrase.

Shown below, the underlined number “1” represents accented

cells (from beat 7); all other numbers are rendered softer. Above this

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expanding cell series is a top row in small font size that illustrates the

beat numbers 1–12.

Count expanding cells as:

The same sequence with the top row of numbers beginning from beat 7

A stacked “tower-like” illustration of the five cells (from beat 7)

reveals the expanding duration and stability of the structure.

1 2

1 2 3

1 2 3 4

RELATIONSHIP BETWEEN ALegriAS AND AFRICAN BELL

PATTERN

My experience with African music from the Ewe and Dagomba

people of Ghana encompasses rhythms in binary pulses of 2/4 and 4/4,

and ternary pulses of 6/8 and 12/8. Recently I recorded a contemporary

arrangement of a traditional African drum rhythm in 6/8 with the

12-pulse Alegrias pattern played on cajon and palmas. I was struck by

how well the two traditions worked together, as if born from the same

musical mother. This prompted me to compare the seven strokes of the

12/8 standard African pattern to the five accented claps of Alegrias.

A reinterpretation of Alegrias in a 12/8 ternary feel requires three

pulses per beat, as opposed to two pulses per beat. In this non-traditional

form, beat 12 of the Alegrias is placed onto beat 1 of the 12/8 phrase.

Shown below, the “/” represents the division of beats; the “x” represents

accented Alegrias claps; the “–“ represents non-accented claps. Numbers

below the phrase refer to the original Alegrias structure. Notice that

the first and second claps now land on beats one and two of the 12/8

structure. Instead of stepping in a six feel (as before), step to the 12/8

phrase shown below in a four feel: R, L, L, R. When repeating the

phrase, steps retain their same orientation.

Alegrias in 12/8 Pulse (four feel):

R L L R

x – – /x – - /– x x /– x –

12 3 7 8 10

A primary element of the 12/8 African bell is how on-beat strokes

align with beats 1 and 4, with all other strokes landing off the beat, as

shown below. I notated the phrase using eighth notes and eighth rests

for maximum beat clarity.

Standard African 12/8 Bell:

In the previous “Alegrias in 12/8 pulse,” claps aligned with beats 1 and

2, with the three remaining claps off the beat. By rotating the Alegrias

phrase back one beat, the pattern shares the same on-beat points as the

African bell. The 12 of Alegrias now aligns with beat 4 of the 12/8 bell.

Alegrias numbers are included to show where its phrase originates.

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Alegrias Realignment:

x – – /– x x /– x – / x - -

3 7 8 10 12

What also becomes clear is how the second and third off-beat strokes

of the Alegrias realignment coincide with the off-beat strokes of the

African bell. Shown below are the primary off-beat and on-beat strokes

of both patterns. All five Alegrias accents align with the bell. Missing

from the palmas phrase are the two off-beat strokes of the bell on beats

one and four.

COGNITIVE PERCEPTION AND DOWNBEAT AMBIGUITY

Whereas the African bell pattern contains seven strokes and five rests,

the Alegrias pattern contains five accented claps and seven unaccented

claps. In this form, the relatively empty and “expanding cell” structure

of Alegrias results in an intricate level of syncopation that could cause

the pattern to flip/rotate in the mind of inexperienced “non-African”

listeners and players. Downbeat ambiguity is a common phenomenon

with cycling time line/clave-like patterns. The African bell pattern can

flip with long (L) and short (S) strokes switching from L-L-S-L-L-L-S

(5+7 structure) to L-L-L-S-L-L-S (7+5 structure).

Part of the beauty

and complexity of world rhythm cycles is the potential to experience

“downbeat culture shock.”

Previous scholarly research, most notably by David Locke and Jeff

Pressing, examined the possible rotations (“modes”) of the standard

pattern by moving the first stroke to the end of the phrase: L-L-S-L-L-

L-S, L-S-L-L-L-S-L, S-L-L-L-S-L-L, L-L-L-S-L-L-S, L-L-S-L-

L-S-L, L-S-L-L-S-L-L, and S-L-L-S-L-L-L. Each of these patterns

represents different time line structures for other traditional rhythms.

A similar “modal/rotation” model can be applied to the Alegrias palmas.

These rotations contain unique tension/resolution points, while also

revealing what the ear might perceive as the downbeat to the music.

Aside from the previously examined traditional phrase and the

African bell realignment, three other rotations of the Alegrias pattern

are possible. In a traditional Flamenco context, the four rotations are

not incorporated; in a contemporary setting, the performer/composer is

free to explore any creative application. Alegrias numbers are included

to identify the source of the original phrase. While engaging in these

rotations, pattern familiarity with the original phrase will probably be

diminished. Indeed, the inherent gravitational force of several rotations

will sound unrelated to its origin.

Alegrias Rotations (eighth rests could be sounded using softer

claps):

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CONCLUDING REMARKS

There is much more to this analysis than interesting observation and

cultural coincidence. By constantly challenging the existing paradigms,

new resources and ideas can evolve. Pioneering music creations that pay

respect to traditional roots, while exploring unusual instrument sound

combinations and unique rhythm and melodic systems, result in what

could be classified as “new world music.”

ENDNOTES

1. Andulicia is located in southern Spain. There is ongoing debate regarding

the degree of influence gypsies had on the development of flamenco. Other

influences could be attributed to the Moors, Jews, Christians, and North

Africans. World music traditions often evolve as an amalgam of many

neighboring regions, with limited historical documentation to resolve the

various conclusions.

2. The cajon is a folk instrument that originated in Peru and is a recent addition

to the flamenco lexicon. In the 1970s guitar virtuoso Paco de Lucía toured

Peru and was given a cajon as a gift. He brought it back to Spain where it

underwent several modifications—the open hole on the side and the addition

of tunable snares—to suit the flamenco sound.

3. The basic skeletal structure of Alegrias is discussed in this article. More highly

syncopated palmas patterns are integrated in an actual performance.

4. This clapping, recitation and movement exercise was taught to me by flamenco

guitarist Juanito Pascual. I regularly incorporate a similar three-tiered

kinesthetic approach to learning African and Indian rhythm.

5. In vocal and dance music, the Alegrias palmas pattern usually begins just after

beat 1, as a pick up leading into beat 3 (conversations with Juanito Pascual).

6. For more information on 12/8 timeline rotations and their application in other

traditional rhythms see: “The Euclidean Algorithm Generate Traditional

Musical Rhythms” by Godfried Toussaint, School of Computer Science,

Centre for Interdisciplinary Research in Music Media and Technology, the

Schulich School of Music, McGill University, Montreal, Québec, Canada.

7. Prior research of the African bell pattern and its transpositions/rotations

has been conducted by Kofi Agawu, A.M. Jones, James Keotting, Robert

Kauffman, Kobla Ladzekpo, David Locke, Alan Merriam, J.H. Kwabena

Nketia, and Jeff Pressing, to name a few. See “Sources” below for the specific

publications.

SOURCES

Agawu, Kofi. African Rhythm: A Northern Ewe Perspective. Cambridge, MA:

Cambridge University Press, 1995.

Jones, A. M. Studies in African Music. London: Oxford University Press, 1959.

Keyser, Chuck. “The Flamenco Forms,” http://users.aol.com/BuleriaChk/private/

flamenco.html

Kauffman, Robert. “African Rhythm: A Reassessment,” Ethnomusicology 24.3,

1980.

Koetting, James. “Analysis and Notation of West African Drum Ensemble

Music,” Selected Reports in Ethnomusicology, 1970.

Locke, David. “The Music of Atsiagbekor,” Ph.D. dissertation, Wesleyan

University, 1978.

__________. Worlds of Music: An Introduction to the Music of the World’s Peoples.

Wadsworth Publishing Pap/Com edition, 2004.

————. “Principles of Off-beat timing and Cross Rhythm in Southern Ewe

Dance Drumming,” Ethnomusicology 26.2 (1982): 217–246.

Merriam, Alan P. “African Musical Rhythm and Concepts of Time-reckoning,”

African Music in Perspective, 443-461, New York: Garland Publishers, 1982.

Pressing, Jeff. “Cognitive Isomorphisms between Pitch and Rhythm in World

Musics: West Africa, the Balkans and Western Tonality,” Studies in Music 17

(1983): 38–61.

Jerry Leake is co-founder of the acclaimed world-music ensemble

Natraj. He also performs with Club d’Elf, R.A.R.E, Moksha,

BodyGrooves, and the Agbekor Drum and Dance Society. He is featured

on dozens of CDs and has released several CDs of his own music. On

tabla, he has accompanied Ali Akbar Khan, Steve Gorn, Sharafat Ali

Khan, Kumkum Sanyal, Chitravena Ravikiran, George Ruckert, Peter

Row, Purnima Sen, Nandkishor Muley. He graduated from the Berklee

College of Music, where he studied jazz vibraphone with Gary Burton

and hand percussion with Pablo Landrum. He has written eight widely

used texts on North Indian, West African, Latin American percussion,

and rhythm theory (www.Rhombuspublishing.com). Jerry is on the

faculty of the New England Conservatory of Music and Tufts University,

and is a substitute teacher for Jamey Haddad at Berklee. Jerry is former

president of the Massachusetts PAS Chapter.